Page 49 - Studio International - January 1969

DAVID EVISON. Slate levels was made last
winter. It started from the ground and was
added to in layers until a stage was reached
where I could recognize what was needed.
I go through the process of sculpture work,
which is rather like starting from scratch all
over again, in order to reach this stage. It is
here that I recognise my concerns, as though I
draw what I want to express from what I
have done. Although this rationale is in
retrospect and could be suspect if used as a
precedent for future work, it is in its belief that
I find my reason for making sculpture.

David Evison Slate levels 1968
wood, painted grey and white, and slates
67 x 96 x 120 in.

From notes '67/8 Barry Flanagan

Object sculptures, and their configurations uses his faculties to edit out any distractions
dating from observations made in March '67 within that convention put in a room to be and confusions to maintain a positive
about three sculptures for Paris Biennale seen is the habitual way of thinking about relationship within that convention.
(Studio International September '67). the 'exhibition'. The ideal state is when each As soon as any one object loses its
object commands an equal attention to the autonomous identity by statement and
next, due to its very own identity/separation intention things begin to happen; the whole
as an object. When not in this ideal state the situation is affected and the nature of
A = object Hi - exhibition area observer (accepting the whole convention) `exhibition' altered.

If within the terms of this diagram I state another diagram, without actually
that two of the objects are not of the type articulating the change in state, we get
Objects claiming claiming autonomous identity and draw fig. 2, which is the same.
autonomous identities
on exhibition

If I do articulate the change in state (i.e. of the autonomous type, the diagram
if those objects articulate their new state) becomes fig. 3 and the claim is
of the two objects claimed to be other than substantiated.

But then the whole situation is effected qualifying that space. Once liberated from
within the finite space, i.e. the visible the invested autonomous identity an
`room'. Without that singularity of object operates with any object (visually),
identity, the medium of operation of an not just its chosen one (by way of literary
object is actual space and anything mechanics).

Due to autonomous claims by some objects Without the literary investiture of identity,
in a mixed situation, there is much 'literary things seen (matter/stuff) become truly visual
argument' and a high measure of visual in the whiteness of space/light (the medium of
confusion. Notions of identity are the last the perception). Then a larger visual order may
tethers to literary process. be articulated, unframed by literary process.
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